Maxine Peake struggles to make the voice of reason heard in the rather reactionary feminist history play The Welkin at the National Theatre.
Caryl Churchill’s Glass. Kill. Bluebeard. Imp. at the Royal Court is wonderfully bright and incisively perceptive.
Glass. Kill. Bluebeard. Imp creates an essential piece of new writing – edgy, haunting and disconcertingly relevant and Caryl Churchill, at the age of 81, is still the playwright for our times.
Clive Owen has returned to the West End for the first time in 18 years to play the Rev. T. Lawrence Shannon in Tennessee Williams’ The Night Of The Iguana in a new production directed by James Macdonald. So what did the Mates think of this production?
James Macdonald is the latest director to tackle The Night of the Iguana, perhaps best known from its film adaptation starring Richard Burton , Deborah Kerr and Ava Gardner.
Love London Love Culture rounds up the reviews for James Macdonald’s production of The Night of the Iguana starring Clive Owen.
Star cast delivers a terrific revival of Tennessee Williams’s last masterpiece The Night of the Iguana at the Noel Coward Theatre.
The Night of the Iguana takes three hours to tell a fairly simple story which could be done in 30 minutes, but it is worth the price of a ticket simply to watch Lia Williams deliver an outstanding performance as one of Tennessee Williams’ great, but unsung, female characters.
Clive Owen and Lia Williams do justice to the wild lush text of The Night Of The Iguana at the Noel Coward Theatre, rich in wonder and filth, corruption and beauty.
Gripping performances from Clive Owen and Lia Williams, and James Macdonald’s slow-burn direction allows Tennessee Williams’ writing in The Night Of The Iguana to cast its spell.
Clive Owen will return to the West End for the first time in 18 years to play the Rev. T. Lawrence Shannon in The Night Of The Iguana in a new production directed by James Macdonald. The production will begin performances at the Noël Coward Theatre on 6 July 2019 (press night is 16 July) and runs until 28 September.
Are morals dropped at the first sign of trouble and civilised people will ‘devour’ each other? Written by Cordelia Lynn and directed by James Macdonald, One For Sorrow examines this hypothesis up close.
For all my scepticism about the views expressed by some characters, I decidedly think this is impressive work from a playwright to be taken seriously and it’s only very slightly too long and under-resolved.
It could be the November 2015 Paris terror attacks, except this time it’s happening in London. And it is also the powerful start of Cordelia Lynn’s new play, One for Sorrow, which has just opened at the Royal Court’s upstairs studio space.
The latest Restoration comedy on offer in London is the Donmar Warehouse’s sumptuous production of William Congreve’s The Way of the World that stretches into the night for more than three hours.
This is a full period-dress production, executed immaculately but probably needing another few cuts to be unalloyed joy. The plot is labyrinthine, with a wordy torrent of finely honed wit and derision, fuelled by greed more than love.
The Donmar’s new version of William Congreve’s play has plenty of musings on marriage and the role of women which still feel extremely pertinent; it just needs to even out the tone to make this restoration comedy really fizz.
Haydn Gwynne will be playing the role of Lady Wishfort at the Donmar Warehouse in James Macdonald’s new revival of William Congreve’s Restoration comedy The Way of The World, replacing Linda Bassett who has had to withdraw from the production.
The title of Annie Baker’s new play, John, is the epitome of the ordinary but turns out to be quite the opposite. The piece is essential to understanding the excitement new writing can generate.
The new Royal Court season, announced today includes a total of tene world premieres – among them works by Mark Ravenhill, Debbie Tucker Green and Anthony Neilson, plus actress Ellie Kendrick’s writing debut.